[Fmpro] Where are the Distinctive Voices In Scoring?

Tue Jun 3 02:05:52 GMT 2008

I'm beyond impressed. Fabulous work.
FR

On 6/2/08 8:21 PM, "Mike Vaccaro" <mike at mikevaccaro.com> wrote:

> Fernando
> 
> I am glad you liked that, I played 1st clarinet, Bobby Shulgold 1st flute,
> John Yoakum 1st Oboe, and Peter Mandell 1st bassoon. The orchestra was
> conducted by Tim Simonec (another great composer in his own right) and
> contracted by Reggie Wilson from Disney Studios. The woodwind writing was
> fantastic and though notey it laid well and was fun to play
> Mike Vaccaro
> 
> 
> Consider the environment before printing this email
> ----- Original Message -----
> From: "Fernando Rivas" <fernando at rivasmusic.com>
> To: <fmpro at nxport.com>
> Sent: Monday, June 02, 2008 5:11 PM
> Subject: Re: [Fmpro] Where are the Distinctive Voices In Scoring?
> 
> 
>> Agree with that. That's the best cartoon music in a long time. Which
>> orchestra was used? I don't remember the credits. There was a lot of
>> difficult woodwind work performed brilliantly.
>> 
>> 
>> On 6/2/08 7:58 PM, "Mike Vaccaro" <mike at mikevaccaro.com> wrote:
>> 
>>> Michael Gahanna on Ratatouille and almost everything else he touches is a
>>> very distinctive voice. If you don't the DVD or CD it would be worth your
>>> time.
>>> Mike Vaccaro
>>> 
>>> 
>>> Consider the environment before printing this email
>>> ----- Original Message -----
>>> From: "Evan Evans" <composercollective at gmail.com>
>>> To: <fmpro at nxport.com>
>>> Sent: Monday, June 02, 2008 4:50 PM
>>> Subject: [Fmpro] Where are the Distinctive Voices In Scoring?
>>> 
>>> 
>>>> No not at all. I wan't being sarcastic.
>>>> Williams excels in areas we all dream to excel in, and simultaneously
>>>> destroys progress in areas some of us make our life's work to evolve.
>>>> It's
>>>> a
>>>> love-hate relationship that's completely justified for me.
>>>> 
>>>> EEE
>>>> 
>>>> Message: 8
>>>>> Date: Mon, 02 Jun 2008 14:52:57 -0400
>>>>> From: David Tkaczuk <d-dmusic at rogers.com>
>>>>> Subject: Re: [Fmpro] "Where are the Distinctive Voices In Scoring?"
>>>>> To: fmpro at nxport.com
>>>>> Message-ID: <48444171.521569AB at rogers.com>
>>>>> Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854";
>>>>>        x-mac-creator="4D4F5353"
>>>>> 
>>>>> With tongue firmly in cheek Evan ?
>>>>> 
>>>>> Dave
>>>>> D&D Music
>>>>> 
>>>>> Evan Evans wrote:
>>>>> 
>>>>>> Ted,
>>>>>> 
>>>>>> Thanks for the skepticism on Williams, it does help keep debate alive
>>>>>> and
>>>>>> his music under much needed scrutiny. However, its important to note
>>>>>> that
>>>>>> it's apparent you know very little about John Williams and for
>>>>>> instance
>>>>> the
>>>>>> scoring teams of the top 25 film composers, their processes and
>>>>>> teammates
>>>>>> various responsibilities. I do respect your conjecture. From your
>>>>>> point
>>>>> of
>>>>>> view it circumscribed many important points of suspicion about
>>>>>> Williams.
>>>>> But
>>>>>> I can assure you, Williams writes around 95% of the notes you hear (an
>>>>>> accurate estimate based on example). His artistry does not change
>>>>> dependant
>>>>>> on the changing of his crew over the years, and so it's easy to hear
>>>>> "what
>>>>>> is Williams" in anything he does, if you are familiar with his
>>>>>> entire oeuvre. Williams also notates VERY fast, and developed an
>>>>> excellent
>>>>>> short hand for his notation, and can very easily put down nearly
>>>>> everything
>>>>>> you hear. He also does not change his music on the stand as
>>>>>> drastically
>>>>> as
>>>>>> other film composers do, although he does tweak and produce his music
>>>>>> "on
>>>>>> the stand".
>>>>>> 
>>>>>> Just thought you should know this so that you can make your criticisms
>>>>> even
>>>>>> more effective. Anyone criticising Williams is doing a good service to
>>>>> the
>>>>>> community, in keeping this famous man's role in this artform under
>>>>> scrutiny,
>>>>>> as well as the art itself. If you feel the instinctive need to define
>>>>>> Williams, I think it's very healthy that you do so. I simply recommend
>>>>> you
>>>>>> keep abreast of the details (facts, musical theory, etc), so that your
>>>>>> arguments are strong.
>>>>>> 
>>>>>> Evan Evans
>>>>> 
>>>> _______________________________________________
>>>> The Film Music Pro List is sponsored by Film Music Magazine -
>>>> http://www.filmmusicmag.com
>>>> 
>>>> Best of FMPRO: http://www.fmproquotes.com - Quotes site  by Billy Hale
>>>> Music
>>>> 
>>>> To edit your list options or unsubscribe, visit:
>>>> http://nxport.com/mailman/listinfo/fmpro
>>> 
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>>> _______________________________________________
>>> The Film Music Pro List is sponsored by Film Music Magazine -
>>> http://www.filmmusicmag.com
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>>> Best of FMPRO: http://www.fmproquotes.com - Quotes site  by Billy Hale
>>> Music
>>> 
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>>> http://nxport.com/mailman/listinfo/fmpro
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>> 
>> 
>> 
>> _______________________________________________
>> The Film Music Pro List is sponsored by Film Music Magazine -
>> http://www.filmmusicmag.com
>> 
>> Best of FMPRO: http://www.fmproquotes.com - Quotes site  by Billy Hale
>> Music
>> 
>> To edit your list options or unsubscribe, visit:
>> http://nxport.com/mailman/listinfo/fmpro
> 
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> 
> _______________________________________________
> The Film Music Pro List is sponsored by Film Music Magazine -
> http://www.filmmusicmag.com
> 
> Best of FMPRO: http://www.fmproquotes.com - Quotes site  by Billy Hale Music
> 
> To edit your list options or unsubscribe, visit:
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